• The Research Journal of the Costume Culture
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• v.27 no.3
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• pp.285-297
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• 2019

Retail firms have begun to pursue the marketing strategies, which stimulate consumers' sensibility and lead people to purchase their products. The visible effects of visual merchandising (VM) arouse consumers' interest and play an effective role in having busy people efficiently choose products. Apparel retail stores such as SPA use the offline store to be the experiential environment of their branding. Consumers' sensitivity and response toward various visual merchandising strategies needs to be accessed. The purpose of this study is to identify VM consciousness and VM evaluation attribute factors. Relationship of such variables with other variables were accessed. As consequence variables, product satisfaction and unplanned purchase behavior were included in the study. An empirical survey data was collected from men and women of various ages. Results indicated that VM consciousness and VM evaluation attribute factors were not correlated with consumer demographic variables. VM evaluation attributes were factored into appropriateness, attractiveness and functionality dimensions. Clothing involvement and brand orientation significantly influenced product satisfaction and unplanned purchase. The direct and indirect effect (via VM consciousness) were significant. For unplanned purchase, brand orientation only had indirect effect. The influence of VM evaluation attribute factors were significant. Appropriateness had stronger effect on product satisfaction whereas attractiveness had stronger effect on unplanned behavior. Functionality dimension had only indirect effect on product satisfaction but did not show significant direct and indirect effects on unplanned purchase. This study identified the pivotal role of VM consciousness in various shopping and purchasing circumstances in offline retail store of apparel brands.

• Science of Emotion and Sensibility
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• v.21 no.2
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• pp.101-112
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• 2018

This study was carried out to enhance the competitiveness of blackbox design for domestic and international companies, based on the explosive growth of the blackbox market due to development of blackbox design for vehicle accident prevention and post-treatment. In the past, the blackbox market has produced products indiscriminately to meet the ever-increasing demand of consumers. Therefore, we thought a new design method was necessary to effectively investigate the needs of rapidly changing consumers. In this study, we aimed to identify the best-selling blackbox to understand the design flow, and the optimum area for a blackbox, considering the uniqueness of associated vehicle. Based on discussion with blackbox design experts, we studied the direction of design and the problems with blackbox use, which were reflected in blackbox development. Through this research, two types of design - leading blackbox (A type) and mass production blackbox (B type) - were proposed for compatibility of the blackbox with the car. The leading type of blackbox was positioned so that it was wrapped with the room mirror hinge before the screw was fastened, in order to achieve an integrated design. Therefore, we designed an integrated form and resolved the placement problem of an adhesive blackbox. To blend, the mass production blackbox implemented material and surface processing in the same way with the car, and adopted the slide structure to automatically turn off the main body power when removing the SDcard, reflecting consumer needs. This study considers evolving consumer needs through a case study and collective intelligence and deals with implementation of the whole design process during mass production. In this study, we aimed to strengthen the competitiveness of the blackbox design based on design method and its realization.

• Archives of design research
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• v.11 no.2
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• pp.31-45
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• 1998

Human beings receive experiences and education in viewing and manipulating objects since birth, These experiences in forms and colours influence signifrcantty the formation of the person's humanity, sensibility and constituOOn until he becomes an adult. Considering that all objects coexist through space and time with human beings from birth to an adulthood, we can imagine how these things shape a person, Human beings' perception of form and colour might be different according to the person's living environment, experiences, education, age and job, However, when we see there are certain kinds of form and colour of that most people favor, we can understand that human beings have a certain inherent feelings about forms and colours, Let's suppose a man faces an object that dosen't correspond with his basic feelings about form and colour, He would avoid that object at least unconsoousty, All of his acts dealing with form and colour probably satisfy a desire for beauty which can be required from certain proper forms and colours, By revealing the feelings about forms and colours that human beings originally have, this study is going to explore what kinds of form and colour have what kinds of psychological and physical influences on human beings. Another purpose of this study is to be a theory suggesting more profitable and effective forms and colours psychologically and physically to the consumer. this study demonstrates that the basic feelings about forms and colours which human beings possess are different according to the individual's psychology and the body's condition. It also establishes the reality of the principle of how human psychology and the body change according to the surrounding environment. Finally, it will be appropriate for the suggested theory from this study to be used as fundamental material in deciding the forms and colours used in the design field in the future in that these forms and colours are more profitable and efftient.

• Science of Emotion and Sensibility
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• v.9 no.1
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• pp.49-61
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• 2006

The present mobile phone industry has significant effect on the domestic economy and has taken root as the core item that has the responsibility to lead the Korean economy for a considerable period of time. As the mobile phone market becomes gigantic, the mobile phone is being used by people in broader age bracket, and functions or designs preferred by people of various age are getting more diverse. Like that, as the mobile phone has greater effect on and meaning in our daily lives, consumers of mobile phone have growing expectation of the mobile phone Now, the core function of voice communication via the mobile phone is not a great concern to consumers. But the function, such as more convenient and friendly information input and output, processing and storage, and the design, which is more sophisticated and optimized for the user environment, are being demanded, not just the simple voice communication. And as the modern design is getting more similar to the objects of traditional high art consumed by consumers every day, the aesthetic aspect of design can play an important role, as the factor that differentiates the product, in creating new value which forms the spiritual and emotional value of human beings to improve the quality of living, and in addition, the willingness of consumers to buy is determined by the design that they prefer the most. Like that, a new design of mobile phone based on a new dimension and preferred by the consumers the most is urgently required to be developed by shedding light on the factors related to the preference of consumers on the basis of the analysis on the aesthetic aspect, which can be said to be the most critical factor in the design process. Therefore, this study aims to identity the common preference and different factors of aesthetic aspects through the analysis on the aesthetic aspects of the mobile phone preferred by users among countries, and figure out the formative artistic factors of aesthetic aspects that are considered to be important, in order to propose the guideline on the aesthetic aspect of mobile phone that can be applied to the design of mobile phone practically.

• Science of Emotion and Sensibility
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• v.19 no.4
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• pp.21-32
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• 2016

Studies have observed various phenomena regarding the effect of the interaction between type, price, and brand image of a product on consumers' purchase intent and product quality perception. Yet, few have studied the effect of the interaction between product type and manufacturing method on these factors. However, the advent of three-dimensional (3D) printers added a new manufacturing method, 3D printing, to the traditional methods of handicraft and automated machine-based production, and research is necessary since this new framework might affect consumers' purchase intent and product quality perception. Therefore, this study aimed to verify the effects of the interaction between product type and manufacturing method on purchase intent and product quality perception. To achieve this, in our experiment 1, we selected product types with different characteristics (drone vs. violin vs. cup), and measured whether consumers preferred different manufacturing methods for each product type. The results showed that consumers preferred the 3D printing method for technologically advanced products such as drones, the handmade method for violins, and the automated machine-based manufacturing method, which allows mass production, for cups. Experiment 2 attempted to verify the effects of the differences in manufacturing method preferences for each product type on consumers' purchase intent and product quality perception. Our findings are as follows: for drones, the purchase intent was highest when 3D printing was used; for violins, the purchase intent was highest when the violins were handmade; for cups, the purchase intent was highest when machine-based manufacturing was used. Moreover, whereas the product quality perception for drones did not differ across different manufacturing methods, consumers perceived that handmade violins had the highest quality and that cups manufactured with 3D printing had the lowest quality (the purchase intent for cups was also lowest when 3D printing was used). This study is anticipated to provide a wide range of implications in various areas, including consumer psychology, marketing, and advertising.

• Science of Emotion and Sensibility
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• v.8 no.1
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• pp.17-28
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• 2005

With the advent of computer technology, the fundamental nature of products has shaped from physical forms towards product interactivity, The focus is now on usability of the product with ease and efficiency rather than conversing with just the looks of the product. However, most definitions of usability and contemporary usability-related researches, have focused on the performance-oriented functional aspects of usability (i.e., how well users perform tasks using a product). Today, user expectations are higher; products that bring not only functional benefits but also emotional satisfaction. So far, there have been many studies on human emotions and the emotional side of products in the field of emotional engineering. Contemporary emotion-related researches have focused mainly on the relationship between product aesthetics and the emotional responses elicited by the products, but little is known about emotions elicited from using the products. The main objective of our research is analyzing user's emotional changes while using a product, to reveal the influence of usability on human emotions. In this research, we suggested conceptual framework for the study on the relationship between usability of products, and human emotions with emphasis on mobile phones. We also extracted emotional words for measuring user's emotions expressed not from looking at the product's appearance, but from using the product. First, we assembled a set of emotions that is sufficiently extensive to represent a general overview of the full repertoire of Korean emotions from the literature study. Secondly, we found emotional words in the after note by the users on the websites. Finally, verbal protocols in which the user says out loud what he/she ks feeling while he/she ks carrying out a task were collected. And then, the appropriateness of extracted emotional words was verified by the members of the consumer panel of a company through web survey. It is expected that emotional words extracted in this research will be used to measure user's emotional changes while using a product. Based on the conceptual framework suggested in this research, basic guidelines on interface design methods that reflect user's emotions will be illustrated.

• Culinary science and hospitality research
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• v.19 no.2
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• pp.130-148
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• 2013

Domestic pizza market in Korea is in the age of maturity, and competition in the market is getting intense. Brand personality that can prompt consumer sensibility is evaluated as a proper method to differentiate the image of a corporate rather than products or technology that can be copied easily by competitors. In this study, we examined the structural relationships among brand personality of pizza brands in Korea, customer-brand relationship quality, and repurchase intention with selected measurement based on Aaker's Big 5. Based on questionnaires answered by 291 customers, this study examined validity and reliability by using SPSS 16.0 and AMOS 5.0 for its hypotheses. The result of the study modelling were GFI=0.900, NFI=0.922, CFI=0.965, RMSEA=0.050 at the level of ${\chi}^2$=384.130(df=1.715, p<0.001). First, sincerity, competence, and sophistication of the pizza brand personality had a positive effect on intimacy. Second, sincerity, competence, sophistication, and strength of the pizza brand personality had a positive effect on brand partner quality. Also, intimacy and brand partner quality had a positive effect on repurchase intention. Therefore, in the practical perspective, pizza brand management can utilize the findings of specific pizza brand personality in creating a competitive edge for marketing.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.